Note to reader

This project is about film, about Romanian film, contemporary and less contemporary, about the film in cinemas, about the film and its local and international public. Because films are more than just films and the public’s criticism is more than just criticism, than a simple matter of tastes or a disagreement with the narrative, a dislike of the aesthetics, detur la Preciziei is trying to dive a bit deeper, to discover the reasons behind the why’s and the attractions of the if’s.

Why Romanian New Wave films look the way they look?

Why Communism and Post-Communism are still a constant after almost 30 years from the regime’s fall?

Why the Romanian public (not all) has difficulties and even refuses to watch its own films?

How can a film that is so deeply Romanian, to its core, to its soul can stir such mix reactions to its Romanian viewers?

Why aren’t Romanian films your Sunday evening films?

Why did the cinema’s number decrease from 550 to 35 after the Revolution?

Why is there this constant “if”, if the film would have been filmed differently, if that other film’s pace would have been faster, if from the subject (or from the details) would have been eliminated, erased, refused the scent of a Post-Communist society, still torn between its past and its present?

Why the very facts that Romanian public dislikes in its films, are highly appreciated on a larger European scene?

How can Romanian films talk so simple about tragedies? And how can they make happiness, love or friendship so mundane

Through a series of film reviews, short essays, and interviews, Detur la Preciziei, wants to make Romanian film known to its national public, but also to the international public outside the renowned film festivals. Because a Romanian film, be it from the last few year, be it from before the Iron Curtain’s fall (the ones that refused to align to the Party’s ideals and defied the censure) is a short journey into the Romanian soul only to discover that “…fatality is indeed at the core of the Romanian psyche, precisely counterbalanced by a lot of black humor, spontaneity and ironic wit…”